‘Tis the Season(s): Instrumental Music of the Baroque and Stories without Words Classical Music Concert #1: Instrumental music secondary, peripheral until th 17 century #2: Cutting music free of dependence on words has far-reaching implications I. The Baroque Sonata A. Sonata Defined 1. Early Baroque (1600-1650) sonata or canzona=any instrumental composition Early sonata tied to vocal models 2. Mid- and Late Baroque (ca. 1650 - ) chamber music for 1-2 soloists + b.c. B. Types of Sonata 1. Functions Sonata da camera (chamber sonata) Stylized dances: Allemande, Courante, Sarabande, Gigue usually in binary form: ||: a :||: b :|| Sonata da chiesa (church sonata) Non dance: often Slow/Fast/Slow/Fast 2. Performing Forces Solo Sonata Trio Sonata I. The Baroque Sonata A. Sonata Defined 1. Early Baroque (1600-1650) sonata or canzona=any instrumental composition Early sonata tied to vocal models 2. Mid- and Late Baroque (ca. 1650 - ) chamber music for 1-2 soloists + b.c. B. Types of Sonata 1. Functions Sonata da camera (chamber sonata) Stylized dances: Allemande, Courante, Sarabande, Gigue usually in binary form: ||: a :||: b :|| Sonata da chiesa (church sonata) Non dance: often Slow/Fast/Slow/Fast 2. Performing Forces Solo Sonata Trio Sonata C. First Major Composer of Sonatas: Arcangelo Corelli 1. Use of modern functional harmony: 2. Extensive use of sequences: II. The Baroque Concerto A. Origins (mid-Baroque) concertato style: based on contrast of performing forces B.Concerto also based on: Contrast of Performing Forces (soloist(s) = concertino vs. ripieno (or tutti) Rip. Concertino Rip. Basso continuo Concertino II. The Baroque Concerto A. Origins concertato style based on contrasts btw. performing forces B. Performing Forces Concertino (solo) vs. ripieno (or tutti) C. Two Types of Baroque Concerto Solo Concerto Concerto grosso D. The Contrast Principle II. The Baroque Concerto A. Origins B. Performing Forces C. Two Types of Baroque Concerto D. The Contrast Principle E. Composers Antonio Vivaldi The Four Seasons, “Spring,” 1st Movement II. The Baroque Concerto A. Origins B. Performing Forces C. Two Types of Baroque Concerto D. The Contrast Principle E. Composers F. Form of the Baroque Concerto 1. Three Movements: Fast/Slow/Fast 2. Outer movements in Ritornello Form Ritornello Form: Ritornello= Main Theme Played by Ripieno (full ensemble) Abbreviated Returns Of rit. Episodes (Solo Episodes) Ritornello returns at end Ritornello Form: Ritornello= Main Theme Played by Ripieno (full ensemble) Rip. Ritornello returns at end Concertino Rip. Concertino Ritornello Form: Double Contrast 1. Contrast of Performing Forces (Ripieno vs. Concertino) 2. Contrast of Themes: Ritornello Theme vs. Solo Melodies III. Antonio Vivaldi’s Spring Concerto (1st Mvmt) Ritornello = AABB 3 1=2 4=3 inverted 3=1 reversed 4=5 6=4 fragmented III. Antonio Vivaldi’s Spring Concerto (1st Mvmt) Ritornello = AABB 3 The Logic of “Wordless” Instrumental Music: Delight in play with patterns, Abstract relationships Quasi-mathematical networks Music “talks” about itself First Movement Guint' é la primavera Il canto de gl'ucelli e festosetti La salutan gl'Augei con lieto canto, Ei fonti allo spirar de Zeffiretti con dolce mormoria Spring has come ; the birds greet her with merry song, and brooks run softly, murmering to the breathing of the gentle breezes. Scorrono intanto venzon' coprendo l'aer di nero an amanto E Lampi, e tuoni ad annuntiarla eletti Indi tacendo questi, gl'Angeletti, Tornan' di nuoro alor Then come (the sky covered with a black mantle) lightning and thunder to herald her and when they cease, the tiny birds take up again their enchanting song. The Logic of Words: Words refer to objects/ideas beyond themselves Vivaldi’s “Four Seasons: Weds Abstract, Musical logic to The Referential Logic of Words